Thread by @RobertBohan

Thread: Joshua Reynolds (1723-92) was the establishment portraitist in England for much of his life. He sought to change the reputation of art to an intellectual one. His aspirations met with amusement by artists such as Gainsborough. He died on this day.

Born in Devon, he was interested in art & art theory from an early age. He was apprenticed to Thomas Hudson (1740-3). He then moved between London & Plymouth until 1745. Gentleman (c1743-9), Self (c1747) & The Neates & their Tutor (1748)

Here’s an overview of my own art which explores the world of the subconscious & nature. You can purchase in my Etsy shop. My work is about hope, empathy, love & joy. Take a look!

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In 1749 he met Commodore Keppel & joined him on a voyage to the Mediterranean. As part of his journey he spent two years in Italy studying Italian art. Portraits of Keppel by Reynolds (1752, 1749, 1779 & 1780)

His cartoons, in the Dublin National Gallery, include many British & Irish then on the 18th C Grand Tour. Such tours were supposed to civilise aristocrats! Self-Portrait (1750-2), The Italian Cartoons (1751) & Frances Hasting (1754)

He was back in England in 1752 & set up rooms in London with his sister as housekeeper. He rapidly met with popular success. Suzanna Beckford (1756), Samuel Johnson (1756-7), Lady Chambersg (c1756) & Robert Shafto (1756)

By 1760 he moved to a bigger house. There he installed his studio, copious assistants & pupils. He instituted a conveyor belt system. Up to 6 people a day would sit to him for about an hour. Robert Orme (1756), Duke of Marlborough (1757), Lady North (1757) & Mrs Abington (c1757)

Reynolds was a fine painter but his priority was in flattering the sitter rather than revealing their psychology. Mrs John Barrington (1757-8), Elizabeth Gunning (1758-9), Duke of Cumberland (1758) & Thomas Reynolds (1758)

Having studied the work of Van Dyck he employed his swagger portrait style to flatter his clients. Cornet Winter (1759), George III (1759), Ms Thorold (1759) & Charles Brandling (c1760)

Conolly was the heir to Castletown House & was one of the earliest of the Irish aristocrats who went on the Grand Tour. David Garrick (1760-1), The Ladies Yorke (c1761), Henry Fane & Guardians (1761-6) & Thomas Conolly (1762-4)

Reynolds would paint the face & outline & his helpers would complete the rest. This way he maximised his profit. This contrasted with Gainsborough where he did most, if not all, of the work. George & Elizabeth Capel (1768), Edwin (1770s) & W Penney (1760s) & Charles Coote (1773)

Paintings like the Archers & Three Ladies are based on compositions found in Classical sculpture. The Archers (1769), Duchess of Leinster (1770s), Omai (1776) & Three Ladies Adorning a Term of Hymen (1773)

Reynolds sought to ‘raise’ the importance of portraiture by using compositions derived from Old Masters & often swathing his sitters in ‘classical attire’. Irish artist Nathaniel Hone saw this as aspirational hogwash & satirised Reynolds as The Conjuror (1775)

Reynolds gave the upper crust the art they wanted where surface glamour & intellectual import mattered more than personality. Captain Pownall (1762-5), Lady Mary Leslie (1764), Thomas Lister (1764) & Lady Charles Spencer (1766)

Reynolds sought to present himself as Rembrandt in his self-portrait. An unfortunate choice. He created ravishing portraits, however. Frederick Howard (1769), Georgina Cavendish (c1775-6), Self-Portrait (1775) & Lady Worsley (1776)

Reynolds had a circle of intellectual friends including Goldsmith, Fox, Johnson & Kauffman. This contrasts with Gainsborough’s many musical friends & fondness for the Demi-Monde. Ms Monckton (1777-8) & Mrs Abington (1771)

In 1768 he became president of the RA & was knighted (1769). There he delivered his Discourses 1769-90 Reynolds’ art was in the conception, unlike artists of genius where it is about heart & mind. Diana Sackville (1779), Sarah Campbell (c1777) & Countess of Harrington (1778)

Reynolds was the ultimate Academician in that his first concern was status & clique whereas those artists of stature choose their own path (Rembrandt, Kollwitz, Rego & Goya etc). Lady Frances Finch (1781-2), Captain Coussmaker (c1782), Self (1780) & Countess Spencer (1781-2)

In 1784 he used his position to ensure he was made painter to the King at the expense of his rival Gainsborough. Francis Rawdon-Hastings (1789-90), Colonel Tarleton (1782), George Eliot (1787) & Francis Hare (1788-9)

He became partially sighted in 1789 & so apparently retired. He died in 1792, aged 70. Wilson Gale-Braddyll (1788-9), Mrs Siddons (1789) & Francis Russell. A great painter, but in my opinion he did not have the genius of his rival Gainsborough.

Here’s more of my artwork. I believe that art should be accessible to everyone & move you. Take a look!

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